Thomas Jensen’s accounts with the Danish Radio Symphony Orchestra are notable however his tranche of plates made with the City of Aarhus Orchestra had their starting points somewhere down during the 1920s when he was designated to the place of director of the Philharmonic Society in the city. In 1935 – the extended period of his presentation with the Danish Radio
this became, under Jensen’s bearing, the Aarhus Civic Orchestra.
However, he co-coordinated the Danish Radio he wasn’t to turn into its long-lasting guide until 1957 so his profession as a guide in both Aarhus and Copenhagen ran simultaneously.
The beginning had been the plan to advance Danish music, so in 1948 Kuhlau’s suggestion to the play, William Shakespeare was chosen and its coupling was another work, two little developments from Svend Erik Tarp’s beguiling Suite on Old Danish Folk Songs. Different works were likewise recorded, and the fruitful gathering of these accounts prompted a return visit to the city by Tono in 1951. The Aarhus symphony couldn’t match the string heave of the Danish Radio yet it had artfulness and had been thoroughly prepared by Jensen. Its Kulhau is a fine illustration of informal expressing, regardless of whether the metal tone is swimmy. There’s friendly support of Elgar as
Jensen demonstrates a very characterful director of French music, outstandingly Massenet’s artful dance music from Le Cid, and he and the ensemble dish up certain Pops such as Marche slave, the Saber Dance, and the Dance of the Comedians. It’s to the Tono architects’ credit that these, and particularly the Tchaikovsky, don’t sound too frantically underpowered.
Jensen was skilled at dance music, and strikingly dances and his Strauss matching is respectable and helps one to remember his authentic endeavors at the Tivoli in the music of Lumbye.
Plate 2 finds director and symphony in live shows circulated by the Danish Broadcasting Corporation and given in an assortment of Aarhus areas. There are two fundamental works, Dvořák’s Ninth Symphony and Haydn’s D significant console concerto, with piano player John Damgaard. The orchestra show dates from 1950 and was held in the Aarhus Hellen, which could situate north of 3,000.
The corridor and its acoustic offer no courtesies to the ensemble which as indicated by Claus Byrith’s part of the booklet notes – the rest of the joint work of Martin Grabau and Peter Quantrill – comprised then of just 32 artists ‘not including collaborators’. Jensen had his own arrangement of acetic acid derivations cut and this is the very thing that Danacord has approached.
It’s difficult to say how huge the symphony is on the grounds that everything gets twirled up in the tremendous lobby. Balances are sporadic, a metal having a tendency to overwhelm the strings – simple to occur in the event that your string segment is little – thus this is best viewed as a gift of the Arhus and Jensen.
The concerto was kept in 1957 in the significantly more suitable primary lobby of Aarhus University The little symphony is proper for the work and the 15-year-old Damgaard is a familiar, energetic player. It’s lucky that his folks had a record cut of the transmission. On 20 December 1955, Jensen and the ensemble gave the debut show at another setting, the Scala, which was a consolidated film and show corridor. Once more as Byrith notes, resonation is exceptionally short and metal overwhelms, which is lamentable given one of the two works protected here, Kulhau’s The Elf Hill suggestion.
Sibelius’ Andante happy arises sound in that regard obviously, however, the cool acoustic doesn’t resist.